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William Bingham McGuinness R.H.A (1849-1928) -Landscape with Thatched Cottages by Lough - Watercolour - signed B. McGuiness lower left, Framed, mounted and glazed 9 ¾ x 14 ¼ ins , Frame size 18 ½ x 21½ ins -William Bingham McGuinness (1849-1928) was a landscape painter who began his career as an architect, exhibiting architectural designs at the Royal Hibernian Academy. It was during his apprenticeship that he began taking painting classes at the RHA where he discovered his passion for painting, travelling to Dusseldorf to pursue further study of the profession. When he returned to Dublin he devoted his time fully towards painting, exhibiting with the RHA and the Royal Academy in London.

An Art Deco-style walnut-cased 8-day triple train "grandmother" clock of geometric architectural form, 1940s with polished brass dauphin hands and baton indices. 27 cm wide x 15 cm deep x 156 cm overall height.Private estate

ARCHITECTURAL DRAWINGS: a quantity of architectural drawings and watercolours in large folio, to include a series of finished designs by one Chris Barnby, mid-20thc. (Folio)

EPHEMERA: a large quantity in 3 boxes, to include prints, engravings, architectural drawings, family correspondence, snapshots, postcards, newspaper clippings etc. (3 boxes)

Mantel clock in inlaid mahogany case, another in oak case, timepiece in oak architectural case and a Kundo 365 day clock (4)

An oak carved court cupboard, the top with moulded edge above a frieze of carved architectural arches, supported on turned columns, with recessed cupboard door, above a base with a larger carved cupboard door revealing a shelved interior, panelled sides, on stile feet, 112 x 69 x 44cm

A late 19th century German 8 day walnut mantle clock of architectural form, Location: RAM

The Architecture of England From Norman Times to the Present Day by Frederick Gibberd 1944 Fifth Edition Hardback Book with 47 pages published by The Architectural Press some ageing good conditionSold on behalf of Michael Sobell Cancer Charity. We combine shipping on all lots. Single book £5.99 UK, £7.99 Europe, £9.99 ROW. We can ship a parcel up to 20kg which will take approx. 40 books in UK £12, EUROPE £39.99, ROW, £59.99

German walnut bracket mantel clock, circa 1900, architectural style case with turned finials, over a brass 15cm dial with silvered chapter ring and matted centre, the movement with RSM rose logo (R.M. Schneckenburger, Muhlheim), chiming on two gongs, with pendulum and key, height 46cm, width 31cmPlease note our special conditions of sale regarding clocks and watches

Contemporary SchoolPortrait of Sir Edwin Landseer LutyensIncorporating an architectural model for a 'chattri' roof, after the caricature bust made at Lutyens' Indian office in New DelhiDigital print on board 170.5 x 140cm (67 1/8 x 55 1/8in).Together with a similar example depicting Samuel Pepys, and a painted panel version of Sir Edwin Lutyens with a caricature of Sir Terence Conran (3)Footnotes:The relationship between Sir Terence Conran, Sir Edwin Lutyens and Samuel Pepys may not be obvious at first glance, however they all converge (across the centuries) at 85 Fleet Street. The birthplace of Pepys in 1633, the building was re-designed by Lutyens 300 years later for the Press Association and later served as Reuters head office for decades. In 2009, the building was taken over by Sir Terence and his restaurant group and named 'Lutyens' in homage of the architect, with an additional entertaining and events space named after Pepys.For an image of the Lutyens caricature bust see the Royal Institute of British Architects ref no. RIBA3080-37. This was originally provided to Sir Terence by RIBA after the purchase of the building, from which he commissioned artwork inspired by the original.The Samuel Pepys work is most likely based on the portrait by John Hayls at the National Portrait Gallery, ref no. NPG 211.This lot is subject to the following lot symbols: TPTP Lot will be moved to an offsite storage location (Cadogan Tate, Auction House Services, 241 Acton Lane, London NW10 7NP, UK) and will only be available for collection from this location at the date stated in the catalogue. Please note transfer and storage charges will apply to any lots not collected after 14 calendar days from the auction date.For further information on this lot please visit Bonhams.com

Wright (Frank Lloyd). A Testament, 1st edition, London; Architectural Press, 1957, numerous monochrome illustrations, period inscription to the front endpaper, some light marginal toning, original red cloth in price-clipped dust jacket, covers slightly rubbed with some minor tears to head & foot, large 4to, together with:Williams-Ellis (Clough), Portmeirion, The Place and its Meaning, 1st edition, London: Faber and Faber, 1963, colour frontispiece plus monochrome illustrations, some minor toning, original cloth in dust jacket, covers slightly rubbed to head & foot, 8vo, plusWhittick (Arnold), European Architecture in the Twentieth Century, volume 1, 1st edition, London: Crosby Lockwood & Son, 1950, numerous monochrome illustrations, bookplate to the front pastedown, some marginal toning, original cloth in dust jacket, covers slightly rubbed with some minor loss, 8vo, and other modern architecture reference & related, including The Culture of Cities, by Lewis Mumford, reprinted, London: Secker & Warburg, 1953, 8vo, Towards a new Architecture, by Le Corbusier, reprinted, London: The Architectural Press, 1949, 8vo, mostly original cloth in dust jackets, 8vo/4toQTY: (30)

Richardson (Charles James). Architectural Remains of the Reigns of Elizabeth and James I, volume 1 only, published by the author, 1840, additional tinted lithographic title and 30 leaves of tinted and uncoloured lithographic plates, some old damp-staining, contemporary quarter morocco gilt, rubbed and partly faded, folio, together with: Remington (Frederic), Drawings, New York & London, 1897, black and white plates, original pictorial cloth, slightly rubbed and soiled, oblong folio, plusSelous (Henry C., illustrator), The Pilgrim's Progress... , by John Bunyan, edited by George Godwin and Lewis Pocock... , London: M.M. Holloway, 1844, engraved plates and illustrations, modern blue half morocco gilt, oblong folio, cloth solander case, plusDallas (Donald), James Purdey & Sons, Gun and Rifle Makers, 200 Years of Excellence, 1st edition, 2013, colour illustrations throughout, original cloth in dust jacket, 4to, plus other miscellaneous art reference, large format, etc.QTY: (2 cartons)

[Turner, Dawson]. Account of a Tour in Normandy; undertaken chiefly for the purpose of investigating the architectural antiquities of the Duchy, with observations on its history, on the country and on its inhabitants, 2 volumes, 1st edition, London: John & Arthur Arch, 1820, 50 engraved plates, contemporary ownership inscription at head of titles, some spotting, near-contemporary half calf, morocco labels to spine, extremities lightly rubbed, 8vo, together with:Camper (Petrus), The works... on the connexion between the science of anatomy and the arts of drawing, London: C. Dilly, 1794, 17 engraved plates (including portrait frontispiece and 16 folding plates), verso of frontispiece with scribbled out signature to verso and some show-through), light toning and occasional spotting, 19th-century cloth, spine torn with loss, covers marked, rubbed and scuffed, 4to,Falconer (William), The Shipwreck, A Poem, new edition, London: William Miller, 1811, half-title, engraved frontispiece, three engraved plates and numerous vignette illustrations, contemporary diced calf by John Otton of Bristol, gilt decorated spine, upper joint cracked and lower board detached, rubbed, 8vo,Bloomfield (Robert), The Remains..., 2 volumes in one, London: Baldwin, Cradock, and Joy, 1824, title with signature of watercolour artist Frank Topham (1808-1877), also to front pastedown and pen & ink sketch of two figures in a landscape to lower pastedown (signed lower margin), original cloth, boards detached, lacking spine, worn, 8vo, plus other mostly 18th-19th century antiquarian books, including Noble (Mark), Two Dissertations upon the Mint and Coins of Episcopal-Palatines of Durham..., Birmingham: Printed for the Author, 1780, and a defective copy of A Narrative of the Loss of the Royal George, at Spithead, August 1782..., 3rd edition, 1841QTY: (a carton)

Lloyd (Nathaniel). A History of the English House, from primitive time to the Victorian Period, 3rd impression, London: The Architectural Press, 1951, numerous monochrome illustrations, some minor toning & spotting, original green cloth in dust jacket, covers slightly toned & rubbed with minor loss to head & foot, large 8vo, together with:Stratton (Arthur), The English Interior, a review of the decoration of English homes from Tudor times to the XIXth century, 1st edition, London: B. T. Batsford, 1920, numerous monochrome illustrations, period inscription to the front endpaper, some minor marginal toning, top edge gilt, original gilt decorated blue & white cloth, boards & spine lightly rubbed & marked, folio, plusRichardson (A. E. & C. Lovett Gill), Regional Architecture of the West of England, 1st edition, London: Ernest Benn, 1924, numerous monochrome illustrations, some minor spotting, original red cloth, spine & head of the boards lightly faded, 4to, and other architecture reference & miscellaneous literature, some contemporary leather bindings, mostly original cloth, G/VG, 8vo/folioQTY: (3 shelves)

Stone (Derrick I., editor). Gold Diggers & Diggings, a photographic study of gold in Australia, 1854-1920, 1st edition, Melbourne: Lansdowne Press, 1974, numerous monochrome illustrations, original cloth in dust jacket, covers lightly rubbed, oblong 4to, together with:Emery (Anthony), Seats of Power in Europe during the Hundred Years War, an architectural study from 1330 to 1480, 1st edition, Oxford: Oxbow Books, 2016, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plusPurcell (Mark), The Country House Library, 1st edition, New Haven: Yale University Press, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, and other modern miscellaneous literature & history reference, including publications by Oxford, Cambridge, Folio Society, mostly original cloth in dust jackets, some paperbacks, G/VG, 8vo/4toQTY: (6 shelves & a carton)

Darley (Gillian). John Soane, An Accidental Romantic, 1st edition, New Have: Yale University Press, 1999, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, together with:Gomme (Andor & Alison Maguire), Design and Plan in the Country House from Castle Donjons to Palladian Boxes, 1st edition, New Haven: Yale University Press, 2008, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, plusThurley (Simon), Hampton Court, A Social and Architectural History, 1st edition, New Haven: Yale University Press, 2003, numerous colour & monochrome illustrations, original cloth in dust jacket, large 4to, and other modern architecture reference & related, including John Nash, Architect of the Picturesque, edited by Georffrey Tyack, 1st edition, Swindon: English Heritage, 2013, original cloth in dust jacket, large 4to, mostly original cloth in dust jackets, G/VG, 8vo/4toQTY: (3 shelves)

* Architectural game. Casse Tête d'Architecture, Par Demandes et Résponses, Paris: Mds. de Nouveautés, circa 1820, 25 hand-coloured engraved pictorial alphabet cards (without 'W' as issued), each with a letter top left, adjacent to a number of small pictures and symbols, above an illustration of a building with caption, each with light blue border, occasional light foxing and 1 or 2 small marks, plain versos, 10.5 x 6.9 cm, together with blue-bordered printed 'Explication' card (juvenile ink and pencil trials on verso), 8 x 7.1 cm, housed in original paper-covered cardboard box, hand-coloured engraving mounted on hinged lid with title and imprint, box dust-soiled and with parts of gilt beaded border missing QTY: (1)NOTE:A rare early rebus game on the theme of architecture, complete and in very good condition; we have been unable to find another set sold at auction. The letter 'W' is not represented as it was not added to the French alphabet until slightly later in the 19th century.

* White (Hugh Stanley, 1904-1988). A collection of prints and drawings, 58 pencil and pen & ink drawings on paper or card, including cartoon strips for comics, portrait and figure studies, architectural studies, etc., and 90 prints, mostly etchings (many artist's proofs), various condition, largest 72 x 50 cm, together with:Huby (Brian, 20th century). A collection of original artwork, 27 gouache and watercolour paintings, and 3 pencil and pen & ink drawings, on paper, card, or artist's board, comprising landscapes, figure studies, London scenes, illustrations, etc., including Big Ben and the Houses of Parliament, knights engaged in battle, an angler fishing from a rock, an interior scene of Victorian Christmas festivities, a pair of angel trumpeters, etc., some signed, various condition, largest 56 x 76 cmQTY: (2 folders)NOTE:Artist Stanley White is best-known for his science-fiction picture strips which were published in newspapers and children's comics such as Mickey Mouse Weekly, Bo-Peep, and the Boys' and Girls' Daily Mail. White's work appeared in the debut issue of Mickey Mouse Weekly published in 1936, and his much-acclaimed 'Ian on Mu' was Britain's first science-fiction picture strip serial.

A French gilt-bronze mounted mahogany veneered portico clock, second quarter 19th century, the architectural case with gilt-bronze floral swags to frieze above four columns with gilt-bronze capitals on plinth base with swan and scrolling floral mount, the silvered dial with Roman numerals, the twin train movement striking a bell on the hour and half hour, the backplate stamped with Pons MEDAILLE D'ARGENT 1823 pastille, having gridiron pendulum and winder, 49cm high, 25cm wide, 13.5cm deep Please note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece offered for sale.Please refer to department for condition report

A French gilt-brass mantel clock, late 19th century, the architectural case surmounted with an eagle and decorated with masks and scrolling foliage, on bracket feet, the enamel dial with Arabic numerals, the eight day twin train movement striking a bell on the hour and half hour, with pendulum, 46cm high, 22cm wide, 22cm deep Please note that Roseberys do not guarantee working order or time keeping of any automatic, mechanical, quartz or other timepiece. The case in good condition with only minor wear and tarnishing. The door to reverse with minor dents and does not shut properly. Some minor holes to lining to door. The backplate and bell with only minor scratches and wear. The dial with minor scratches and rubbing to numerals.

A 19thC black slate mantel clock, cream enamel numeric dial and brass chapter ring, eight day movement with coil strike, the case of architectural form, raised on a stepped base, 32cm high, 35cm wide, 15cm deep.

A Victorian ebonised cased mantel clock, with gilt dial, eight day movement, the case of architectural form, 35cm high, 43cm wide, 14cm deep.

BIBLE, In English. The Holy Bible Containing the Old Testament and the New, Newly Translated out of the Original Tongues and with the Former Translations diligently Compared and Revised. London: John Bill and Christopher Barker, 1671. Engraved General title with architectural borders, red-lined throughout, numerous engraved plates, NT title dated 1669 and with imprint 'In the Savoy' and with engraved Royal coat-of-arms, includes Apocrypha. (Toning, occasional browning, K8 with small marginal tear, Ee3 with marginal loss, lacking blanks.) [Bound with:] 'The Book of Common Prayer, And administration of the Sacraments'. London: John Bill and Christopher Barker, 1671. Engraved plate of Charles II. (Toning.) [Bound with:] 'The Whole Book of Psalms'. London: T.R. for the Company of Stationers, 1669. (Last leaves with corner creases, C5-C6 partially adhering, marginal damp-staining to last leaves.) 8vo (171 x 115mm.) Near contemporary calf, gilt rectangles with floral corner-pieces (endpapers replaced, light rubbing.) Note: scarce. Text ends on Aaa3 b and the Xx8 a headline is 'Paul's Ministry'. [Herbert 705.]Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

COTGRAVE, Randle. A French-English Dictionary… with Another in English and French. London: by W.H. for Octarian Pulleyn, 1650. 4to (317 x 202mm.) Title, separate title with architectural border for the 'English-French' section, engraved tailpiece. (Paper repair to title, browning, minor soiling, lacking blanks). Near contemporary calf (rebacked, endpapers replaced, both covers detached).Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

Eight Victorian decorative ceramic architectural tiles in two frames, together with two 19th/20th century Dutch tiles depicting children.

A splendid Victorian black slate and brass-mounted 8-day mantel clock, the architectural case with scrolling floral decoration, each side with female mask handles, circular brass and lacquered 5" dial with gilt Roman numerals, deadbeat escapement visible behind hands, French twin-barrel movement by J. Manti et Cie, height 46cm wide by 44cm high by 18cm deep. (a/f) CONDITION REPORT: Lacks gong, pendulum and key. Carry handle missing from right-side of case.

A German oak eight day ting-tang bracket clock, Winterhalder and Hofmeier, c1900, the silvered dial with subsidiary CHIME / SILENT and SLOW / FAST rings above the chapter ring, in architectural style carved case with fluted pilasters, bevelled glass lights to the sides and stamped brass fret to rear door, pendulum, 48.5cm h Good condition

Franklin Mint - Empress Josephine Clock - A vintage 20th century ceramic mantel clock. The mantle clock having face decorated with central florals, swag and box motifs with roman numeral to chapter ring, set within a neoclassical architectural type case with gilded pediment over Corinthian order pillars upon plinth base painted with further florals and swags. Measures 37cm tall.

Richter's Anchor Blocks, by F. A. Richter & Co., comprising building blocks and booklets including 'Designs for Architectural Models No.6'; and 'Richter's Designs for Architectural Models No.8', contained in stained yew case.

Stuart of Newcastle. A George III ebonised bracket clock, with plain architectural case, the arched silvered dial with subsidiary dial numbered to 40 along with strike silent and inner date dial, unsigned twin fusee movement with anchor escapement striking upon a bell, width 28cm depth 20cm height 41cm***CONDITION REPORT***Overall in slightly neglected condition, the case with a dull ebonised rather dusty finish with cracks running across the arched top, wear to the gilding of the top handle, front door has as original lock but no key, dial oxidised but looks original, side grills oxidised with tired fabric, back door with various cracks and small losses, missing its key but with original lock, movement looks complete, comes with brass pendulum which lacks its locking bar and has not been tested for timekeepingPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Boxell, Brighton, a Victorian mahogany chiming bracket clock, in arched architectural case with brass stop fluted angles and arched silver dial, unsigned probably German three train movement striking on eight bells and a gong, width 43cm depth 26cm height 64cm***CONDITION REPORT***Overall of a good rich dark reddish mahogany tone, numerous fine hairline cracks running through the veneers and joins of the case, dial with a few dirt specks, brass mesh of the back door slightly pushed inwards apparently no case key, movement looks complete and thought to be in working condition, comes with a heavy brass winding keyPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

Davies & Napper. A Regency cut brass inlaid rosewood bracket clock, of arched architectural form, with urn finial and brass ring handles, painted Roman dial and unsigned twin fusee movement, width 32cm depth 19cm height 55cm***CONDITION REPORT***Case of a good rich reddish brown tone, brass inlay all in good order, original painting to the dial now worn and faded, movement looks to be in good clean condition and comes with a pendulum and key.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

A Symphonion oak musical longcase hall clock, c.1895, playing 13.5in. discs, of architectural form with strapwork motifs throughout, eight day clock to the upper section and 13.5 inch disk playing trunk, width 58cm depth 37cm height 235cm***CONDITION REPORT***Overall of an even mid to dark oak tone, some small separations of the joints particularly around the top, two small sections of moulding missing above the columns that flank the trunk door, dial with the original painted finish which is a little rubbed, mechanism in fair order and comes with 11 discs, minor scuffing around the footPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail. 

SAN ROMAN Y RIBADENEYRA, Frei Antonio de, O.S.B.- HISTORIA GENERAL | DE LA YNDIA ORIENTAL | Los Descobrimientos, y Conquistas que han hecho las Armas | de Portugal, enel Brasil, y en Otras partes de Africa, y de la | Asia; y de la Dilatacion del Santo Euangelio por | aquellas grandes Prouincias, desde | sus principios hastª el Año de | 1557...- En Valladolid: por Luis Sanchez, 1603.- [28], 804 (i e. 794), [18] p.; 29 cm.- E., Rare edition from the beginning of the 17th century reporting the discoveries and conquests of the Portuguese from the second quarter of the 15th century to the third of the 16th century, with extensive references to Brazil, but also to Angola, the Persian Gulf, East Africa, India, Malacca, China, Japan and the New World. The author (15th/16th century), a Spanish Benedictine, born in Palencia, also published, on the same date and in the same city of Valladolid, a description of the «Jornada y muerte del Rey D. Sebastian». The copy retains the rare copper plate print architectural portal (signed Juan Bapª Morales, fe), with an image of the author on the pediment, the title and coat of arms of the Constable of Castile, Juan Fernandez de Velasco, to whom the prayer is dedicated. The edition also includes two other engravings inserted in the text, respectively on pages. 225 and 594. Copy slightly cropped and with slight browning; some water stains (tidal) in the last 10 sheets of text and colophon. The printing of the frontispiece is weak, but the copies that preserve it are rare. Entire parchment contemporary binding, with the indication COLEGIO, at the foot of the spine, preserving the original ties and endpapers. Modern protective case. Samodães (2982) gives us an extensive and detailed description, which exactly matches the present copy and also matches the BNP copy. Palau, 293611 (important work). Borba de Moraes, p. 765 (very rare). Auvermann, 201 (excessively rare).

MURPHY, James.- Plans, elevations, sections and views of the church of Batalha, in the province of Estremadura in Portugal, with the history and description by Fr. Luis de Sousa; with remarks. To which is prefixed an introductory discourse on the principles of Gothic Architecture.- London: I. & J. Taylor, 1795.- [2], II, [2], 61, [1] p.: [27] gravuras; 53 cm.- E., A monumental work, especially appreciated for its magnificent copperplate engravings (burin and etching), of large dimensions, containing the architectural survey of the Monastery of Batalha and some reconstructions. James Murphy (1760-1814), Irish architect and traveller, born in Blackrock (Cork), was in Portugal during the years 1789 and 1790, in the service of William Burton Conyngham, with the mission of studying and drawing the architecture of the Monastery of Batalha. The work includes the following typographic texts: List of subscribers [2 p.]; Preface (II p.); Introduction (p. 1 a 26); A history and description of the Royal Monastery of Batallha... / by Father Luis de Sousa ([2], p. 27 a 61, [1] p.). The engraved sheets are as follows: title; dedication to William Conyngham; five engravings at the end of the introduction; and 20 engravings at the end of the volume, two of which are double-leaf, with the architectural survey. The copy also includes, bound at the end, a small leaflet (4 p.) with a catalogue of architecture books, by the same publisher. The copy, complete (according to the bibliography and the engraving index) and uncropped, is very clean up to the engraving [12] (The effigies...) which has a slight semi-circular water stain (of tide), in the upper third, which is accentuated until the last engraving. Half leather binding (single), from the 19th century, with the original Whatman paper endpapers. Duarte de Sousa, 510.

A Georgian oak longcase clock, the hood with architectural pediment enclosing a broken arch painted dial, with winter shooting scene, the dial with subsidiary calendar and secondary dials and eight day striking movement

Architectural Interest - Subjects include Irish houses and castles and Venice, etc (25)

A small carved stone corbel/architectural bracket with birds among fruiting vine and mask detail, 26 cm high x 25 cm wide

A pair of weathered carved natural stone architectural corner capitals with scrolling foliate detail, approximately 35 cm square x 30 cm high

A 1920's Japanned chinoiserie decorated photograph frame of rectangular form in the manner of Liberty of London with inset photograph of an officer. Easel Back. Together with a 19th century Victorian portrait Daguerreotype  in half case together with a series of 19th century hand coloured etchings of architectural scenes, framed and glazed.

A pair of Faber - Castell German manufactured cased slide rules. For business, mathematics and architectural use. With argininal green slide cases. Measures approx. 42cm

Three Chinese carved wood architectural elements, possibly Ming dynasty

Paris, 21x29cms oblong, demi-basane, reliure en bon état solide, intérieur très frais sans manques, illustré de 20 compositions originales, très bon exemplaire. Edition limitée à 500 exemplaires, numeroté 109. Edition imprimée par Emile Kapp pour Charles Hirsch. C'est par erreur que le titre mentionne Isodore Liseux comme traducteur. C'est en fait la traduction d'Alcide Bonneau qui rédigea également l'avertissement. Frontispice et 19 planches libres originales hors texte de Paul Avril, reproduites en héliogravure par Théophile Fillon. Texte dans un encadrement architectural en bistre. Tirage à 500 exemplaires, celui-ci un des 340 sur vélin d'Arches. Rare.

Ca. 1-100 AD.A terracotta statuette of a standing Bacchus (Greek Dionysus). He is depicted naked, standing atop an architectural plinth with a draped cloak hanging over his right arm. His head is adorned with a vine wreath. Bacchus is the god of the grape harvest, winemaking, and wine, fertility, ritual madness, religious ecstasy, and theatre in ancient religion and myth. Cf. The Museum of Fine Arts, Boston, Accession number 87.392.Size: L:190mm / W:58mm ; 195gProvenance: From the HDB Collection, Baden-Württemberg, acquired until 1979.

ARCHITECTURAL GARDEN PEDESTAL, 95cm H x 30cm W, scalloped edge detail, resin in a faux stone finish.

PRINTS, a set of eight, French architectural scenes, purchased from Stephanie Hoppen, each 58cm x 43cm. (8)

Charles Johann Palmié 1863 Aschersleben - 1911 München München, Marienplatz. 1908. Öl auf Leinwand. Links unten signiert sowie ortsbezeichnet und datiert 'München 08'. Verso auf der Leinwand sowie dem Keilrahmen verschiedentlich handschriftlich und typografisch nummeriert, dort mit altem Etikett des Künstlers zur Behandlung des Werkes. 150,5 x 116 cm (59,2 x 45,6 in). • Palmiés Ansichten der Münchner Altstadt um die Jahrhundertwende gehören zu seinen gefragtesten Sujets. • Unter dem Einfluss des französischen Impressionismus entwickelt Palmié ein unvergleichliches, höchst individuelles Kolorit. • Großformatige, ungemein atmosphärische Ansicht mit faszinierender Lichtstimmung. PROVENIENZ: Privatsammlung Nordrhein-Westfalen (aus Familienbesitz erhalten). 'Sein oft gemaltes Lieblingsmotiv: der Münchner Marienplatz als Herz der Stadt mit den schützenden Wahrzeichen der Mariensäule und den Türmen der Frauenkirche im Glanze bunter Lichter, ein Farbenfeuerwerk, das in neo-impressionistischer Behandlung fast an einen orientalischen Teppich gemahnt' Die Kunst für alle, Nr. 26, 1910-1911, S. 552. In vibrierender Farbigkeit gibt Palmié eines seiner Lieblingsmotive, den abendlichen Münchner Marienplatz nach einem Regenschauer, wieder. Die Fassade des Neuen Rathauses verschwimmt in dunklen violetten Tönen, ein durch die elektrische Beleuchtung grünlich erscheinendes Licht wabert durch die Straßen, in den Rathausarkaden verheißen die warm erleuchteten Fenster das schnelle Glück der Warenwelt. Mit unvergleichlicher Intensität macht Palmié hier die transformierende Kraft des Lichtes spürbar, das in allen Facetten des Spektrums in seiner Malerei gewürdigt wird. Die Ansicht des Marienplatzes konzentriert sich weniger auf eine präzise Wiedergabe architektonischer Details, sondern hält den flüchtigen Eindruck der Wetter- und Lichtphänomene fest. In diversen Ansichten diente Palmié – ähnlich wie Claude Monet die Kathedrale von Rouen in seinen seriellen Darstellungen – der zentrale Platz Münchens als malerisches und koloristisches Experimentierfeld, das er in immer neuen Farb- und Lichtstimmungen wiedergibt. Dabei wählt er einen Ausblick, bei dem in dieser Perspektive Monumente aus drei Jahrhunderten mit der mittelalterlichen Frauenkirche, der barocken Mariensäule und dem Neuen Rathaus aus der Mitte des 19. Jahrhunderts zusammen gezeigt werden können. Palmié visualisiert so auf raffinierte Weise den kontinuierlichen Wandel der Stadt, die er im Glanz der elektrischen Beleuchtung der Schaufenster als Bühne des modernen urbanen Lebens inszeniert. Palmié beginnt seine künstlerische Laufbahn mit einer Lehre als Dekorationsmaler und studiert anschließend an der Dresdner Akademie. 1884 siedelt er nach München über, wo er als Schüler von August Fink seine künstlerische Ausbildung vollendet. Palmié gehört zur Münchner 'Luitpold-Gruppe', die sich 1892 von der Münchner Künstlergenossenschaft abspaltet. Zudem ist er 1909 Gründungsmitglied der Neuen Künstlervereinigung München unter dem Vorsitz von Wassily Kandinsky, doch tritt er noch vor der ersten gemeinsamen Ausstellung im Winter 1909 wegen künstlerischer Differenzen aus. Zwei Jahre später stirbt er 1911 in München. Große Berühmtheit erlangt der Künstler zunächst vor allem durch seine Landschaftsdarstellungen. Aus der Tradition der Freilichtmalerei des Biedermeiers kommend, wendet er sich später dem Impressionismus und Pointillismus zu. Unverkennbar ist auch hier der Einfluss der französischen Impressionisten in Bezug auf die Motivwahl einer Stadtansicht, der Perspektive von oben und dem tupfenhaften Pinselduktus, vorformuliert in deren Darstellungen der Pariser Boulevards und Plätzen. Vermutlich kennt Palmié deren Gemälde, die erstmals 1891 auf der Ausstellung im Münchner Glaspalast präsentiert werden - darunter vier von Claude Monet, Seestücke und eine winterliche Landschaft. [KT] Aufrufzeit: 10.12.2022 - ca. 15.36 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONCharles Johann Palmié 1863 Aschersleben - 1911 München München, Marienplatz. 1908. Oil on canvas. Lower left signed, inscribed and dated 'München 08'. Verso of the canvas and the stretcher with several numbers (by hand and in typography), and with an old label inscribed by the artist with care instructions. 150.5 x 116 cm (59.2 x 45.6 in). • Palmié's views of Munich's old town around the turn of the century are among his most sought-after works • Under the influence of French Impressionism, Palmié developed an incomparable, highly individual coloring • Large-format, extremely atmospheric view with a fascinating lighting mood. PROVENANCE: Privat collection North Rhine-Westphalia (obtained from family ownership). Using a range of vibrant colors, Palmié captures one of his favorite motifs, Munich’s Marienplatz in the evening after a rain shower. The façade of the New City Hall dissolves into dark purple tones, greenish light produced by electric lamps wafts through the streets, and the warmly illuminated shop windows in the City Hall arcades hold the promise of instant consumer gratification. In this painting, Palmié conveys with unparalleled intensity the transformative power of light, which his work celebrates in all possible shades of the spectrum. Rather than a precise rendering of architectural details, his view of Marienplatz captures the fleeting impression of weather and light phenomena. Much like Rouen Cathedral in Claude Monet’s serial portrayals, Munich’s central square, which Palmié reproduced in various views in ever changing shades of color and lights, served the painter as a frequent source of artistic and coloristic experimentation. Choosing a perspective that combines monuments from three centuries, he displays the medieval Church of Our Lady, the baroque St. Mary’s Column and the New Town Hall from the mid-19th century. Palmié thus presents an ingenious vision of the continuous transformation of the city, casting it as a backdrop for modern urban life bathed in the glow of the shop windows’ electric lighting. [KT] Called up: December 10, 2022 - ca. 15.36 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Zwei liegende Akte und eine Sitzende. Um 1910. Schwarze Kreidezeichnung. Rechts unten signiert. Auf chamoisfarbenem Velin. 32,7 x 42,8 cm (12,8 x 16,8 in), Blattgröße. [CH]. • Der weibliche Akt im Atelier zählt in diesen Jahren zu den Hauptmotiven E. L. Kirchners und der 'Brücke'-Künstler. • Das Dresdener Atelier ist in diesen Jahren nicht nur Lebens- und Arbeitsraum der 'Brücke'-Künstler, sondern auch Treffpunkt weiblicher Amateurmodelle. • Das Motiv des lasziv auf dem Bett liegenden weiblichen Aktes erkundet Kirchner in dieser Zeit u. a. auch in dem motivisch verwandten Gemälde 'Liegender Akt mit Fächer' (1909, Kunsthalle Bremen). Die Arbeit ist im Ernst Ludwig Kirchner Archiv, Wichtrach/Bern, dokumentiert. PROVENIENZ: Sammlung Dr. Walter Kaesbach (1879-1961), Berlin/Erfurt/Düsseldorf/Hemmenhofen (vor 1914 vom Künstler erworben). Galerie Remmert und Barth, Düsseldorf (1995). Galerie Vömel, Düsseldorf. Sammlung Hermann Gerlinger, Würzburg (1998 vom Vorgenannten erworben, mit dem Sammlerstempel Lugt 6032). AUSSTELLUNG: Galerie Remmert und Barth, Überblick 1995, Düsseldorf, 27.4.-29.7.1995, Kat.-Nr. 73 (m. Abb.). E. L. Kirchner. Ölbilder, Arbeiten auf Papier, Galerie Vömel, Düsseldorf, 25.4.-25.6.1998, S. 14 (m. Abb.). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina Wien, 1.6.-26.8.2007, Kat.-Nr. 140 (m. Abb.). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, bis 2017). Kirchner im KirchnerHAUS. Originale aus Privatbesitz in seinem Geburtshaus, KirchnerHAUS Museum, Aschaffenburg, 2.10.-20.12.2015, Kat.-Nr. 16 (m. Abb.) Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, SHG-Nr. 707, S. 311 (m. Abb.). Das Dresdener Atelier der 1905 von Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff und Fritz Bleyl in Dresden gegründeten Künstlergruppe 'Brücke' ist in den darauffolgenden Jahren nicht nur Lebens- und Arbeitsraum der jungen Maler, sondern auch Treffpunkt für viele weibliche Amateurmodelle, die insbesondere Kirchner in zahlreichen, aus dem Moment geborenen Zeichnungen skizziert. Ebenso wie sich Kirchners künstlerisches Schaffen in diesen Jahren gegen das traditionelle Kunstverständnis richtet, entspricht auch sein Privatleben nicht den konservativen Moralvorstellungen der Wilhelminischen Ära. In seinem mit Vorhängen und Paravents dekorierten Atelier gehen die weiblichen Modelle ein und aus, es herrscht eine ungezwungene und kreative Stimmung. In der hier angebotenen Aktdarstellung hält der ehemalige Architekturstudent Kirchner nicht nur eine alltägliche Atelierszene fest, sondern komponiert aus Interieur und sich auf Sitzmöbeln räkelnden Frauenakten ein fast architektonisches Figurenkonstrukt. Der die Modelle umgebende Raum öffnet die zunächst sehr dichte Darstellung und lenkt den Blick. Die bewusste Reduzierung auf wenige, selbstbewusst gezogene Linien bekräftigt den Eindruck einer durchdachten, sorgfältig erarbeiteten Komposition. [CH] Aufrufzeit: 10.12.2022 - ca. 17.44 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Zwei liegende Akte und eine Sitzende. Um 1910. Black Chalk drawing. Lower right signed. On creme wove paper. 32.7 x 42.8 cm (12.8 x 16.8 in), size of sheet. [CH]. • During these years the female nude was one of the main motifs of E. L. Kirchner and the other 'Brücke' artists. • The Dresden studio was not only the center of the 'Brücke' artists' activities, it was also a meeting point for many female amateur models. • In those days Kirchner also examined the motif of the lasciviously reclined female nude in the similar painting 'Liegender Akt mit Fächer' (1909, Kunsthalle Bremen). The work is registered at the Ernst Ludwig Kirchner Archive, Wichtrach/Bern. PROVENANCE: Collection Dr. Walter Kaesbach (1879-1961), Berlin/Erfurt/Düsseldorf/Hemmenhofen (acquired from the artist before 1914). Galerie Remmert and Barth, Düsseldorf (1995). Galerie Vömel, Düsseldorf. Collection Hermann Gerlinger, Würzburg (acquired from the above in 1998, with the collector's stamp Lugt 6032). EXHIBITION: Galerie Remmert and Barth, Überblick 1995, Düsseldorf, April 27 - July 29, 1995, cat. no. 73 (with illu.). E. L. Kirchner. Ölbilder, Arbeiten auf Papier, Galerie Vömel, Düsseldorf, April 25 - June 25, 1998, p. 14 (with illu.). Expressiv! Die Künstler der Brücke. Die Sammlung Hermann Gerlinger, Albertina, Vienna, June 1 - August 26, 2007, cat. no. 140 (with illu.). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, until 2017). Kirchner im KirchnerHAUS. Originale aus Privatbesitz in seinem Geburtshaus, KirchnerHAUS Museum, Aschaffenburg, October 2 - December 20, 2015, cat. no. 16 (with illu.) Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). LITERATURE: Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, SHG no. 707, p. 311 (with illu.). The Dresden studio of the artists' group 'Brücke', founded by Ernst Ludwig Kirchner, Erich Heckel, Karl Schmidt-Rottluff and Fritz Bleyl in Dresden in 1905, was not only the living and working space of the young painters, but also a place that attracted many female amateur models, whom E. L. Kirchner in particular sketched in numerous spontaneous drawings. Just as Kirchner's artistic ambitions of these years were directed against the traditional understanding of art, his private life did not conform with the conservative morals of the Wilhelminian Period, either. His studio, which was decorated with curtains and screens, had an an informal and creative atmosphere, and female models walked in and out. In the present nude drawing, the former architecture student E. L. Kirchner not only captured a common studio scene, but composed an almost architectural figure construct from the interior and the female nudes lolling on the seating furniture. The space surrounding the models opens up the very dense representation and directs the viewer's gaze. The deliberate reduction to a few poised drawn lines reinforces the impression of a well thought-out, carefully crafted composition. [CH] Called up: December 10, 2022 - ca. 17.44 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Ernst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Einladung zur Ausstellung der Künstlergruppe 'Brücke'. 1906. Holzschnitt. Gercken A -29 II.2. (von II. 2.). Dube H. 693. Mittig im Holzstock monogrammiert. Eines von 6 bekannten Exemplaren dieses Zustands. Auf bräunlichem Karton. 10,1 x 10,1 cm (3,9 x 3,9 in). Papier: 13,6 x 13,6 cm (5,4 x 5,4 in). Gedruckt von Wilhelm Guth, Dresden (verso mit dem typografischen Vermerk). [SM]. • Äußerst selten. • Seit 30 Jahren wurde kein Exemplar auf dem internationalen Auktionsmarkt angeboten. • Frühes Zeugnis aus den Anfängen der 'Brücke'. PROVENIENZ: Sammlung Hermann Gerlinger, Würzburg (verso mit dem Sammlerstempel Lugt 6032). AUSSTELLUNG: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (Dauerleihgabe aus der Sammlung Hermann Gerlinger, 2017-2022). LITERATUR: Hans Bolliger, E. W. Kornfeld, Ausstellung Künstlergruppe Brücke. Jahresmappen 1906-12, Bern 1958, S. 31, Nr. 44. (m. Abb, anderes Exemplar). Heinz Spielmann (Hrsg.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, S. 99, SHG-Nr. 36. Hermann Gerlinger, Katja Schneider (Hrsg.), Die Maler der Brücke. Bestandskatalog Sammlung Hermann Gerlinger, Halle (Saale) 2005, S. 289, SHG-Nr. 653. Einladungskarten zu ihren Ausstellungen selbst zu gestalten, ist von Beginn an ein wichtiges Marketing-Tool der 'Brücke'-Künstler. Die Einladungskarte für die erste Gruppenausstellung der 'Brücke' im Mustersaal der Lampenfabrik Karl Max Seifert in der Gröbelstaße in Dresden-Löbtau entsteht im internen Wettbewerb mit Vorgaben wie Format, Text und auch für das Bildmotiv zwischen Heckel, Kirchner und Pechstein. Während Heckel und Pechstein die für Gebrauchsgrafiken gängige Technik der Zinkätzung wählen, bevorzugt Kirchner den Holzschnitt, was nicht nur seinem Bildmotiv Authentizität verleiht, sondern auch den Buchstaben und Worten eine eigene Kraft und Eindringlichkeit gibt. Dadurch wirkt der Text zwar etwas sperrig, fügt sich aber mit dem Bild zu einer kunstvollen und stimmigen Gestaltung. Kirchners Holzschnitt wird schließlich gedruckt. Ausgestellt haben vom 24. September bis Ende Oktober 1906 Amiet, Bleyl, Heckel, Kirchner, Nolde, Pechstein und Schmidt-Rottluff. Durch Heckels Arbeit als Zeichner, Assistent und Bauführer im Architekturbüro von Wilhelm Kreis lernen die 'Brücke'-Künstler den Fabrikanten Karl Max Seifert kennen. Kreis war mit dem Neubau von Seiferts Schauräumen beauftragt und setzte Heckel als Bauführer ein, der Seifert in diesem Zusammenhang für das Ausstellungsvorhaben begeistern kann. Fritz Bleyl erinnert sich später an die Umstände der Präsentation: 'Der Neubau an der Gröbelstraße war ein mittelgroßes, mehrräumiges Saalgebäude mit stoffbespannten Wandflächen, Parkettfußboden und Polstersesseln, von dessen Decke nun zwar die Kronleuchter herabhingen, dessen Wände aber noch leer waren und Gelegenheit zum vorteilhaften Aufhängen von Bildern boten.' (Abb.) (Hans Wentzel, Fritz Bleyl. Gründungsmitglied der Brücke, in: Kunst in Hessen und am Mittelrhein, 1968, S. 96) Die Entwürfe von Heckel und Pechstein für die Einladung sowie ein Entwurf für ein Verzeichnis der ausgestellten Werke befinden sich im Brücke-Museum Berlin. [MvL] Aufrufzeit: 10.12.2022 - ca. 16.58 h +/- 20 Min. Dieses Objekt wird regel- oder differenzbesteuert angeboten.ENGLISH VERSIONErnst Ludwig Kirchner 1880 Aschaffenburg - 1938 Davos Einladung zur Ausstellung der Künstlergruppe 'Brücke'. 1906. Woodcut. Gercken A -29 II.2. (of II. 2.). Dube H. 693. Monogrammed in center of the wooden block. One of 6 known copies from this state. On brownish board. 10.1 x 10.1 cm (3.9 x 3.9 in). Sheet: 13,6 x 13,6 cm (5,4 x 5,4 in). Printed by Wilhelm Guth, Dresden (with note in typography on the reverse). [SM]. • Extremely rare. • No copy offered on the international auction market in thirty years. • Document from the early days of the 'Brücke'. PROVENANCE: Collection Hermann Gerlinger, Würzburg (verso with the collector's stamp Lugt 6032). EXHIBITION: Schleswig-Holsteinisches Landesmuseum Schloss Gottorf, Schleswig (permanent loan from the Collection Hermann Gerlinger, 1995-2001). Kunstmuseum Moritzburg, Halle an der Saale (permanent loan from the Collection Hermann Gerlinger, 2001-2017). Buchheim Museum, Bernried (permanent loan from the Collection Hermann Gerlinger, 2017-2022). LITERATURE: Hans Bolliger, E. W. Kornfeld, Ausstellung Künstlergruppe Brücke. Jahresmappen 1906-12, Bern 1958, p. 31, no. 44. (with illu., different copy). Heinz Spielmann (ed.), Die Maler der Brücke. Sammlung Hermann Gerlinger, Stuttgart 1995, p. 99, SHG no. 36. Hermann Gerlinger, Katja Schneider (eds.), Die Maler der Brücke. Inventory catalog Collection Hermann Gerlinger, Halle (Saale) 2005, p. 289, SHG no. 653. The creation of invitation cards for their exhibitions was an important marketing tool for the 'Brücke' artists from the very beginning. The invitation card for the first group exhibition of the 'Brücke' at the lamp factory Karl Max Seifert on Gröbelstaße in Dresden-Löbtau was the result of an internal competition between Heckel, Kirchner and Pechstein. While Heckel and Pechstein chose the zinc etching technique, which was common for commercial prints, Kirchner preferred the woodcut, which not only lends authenticity to his image motif, but also gives the letters and words an own strength and urgency. Although this makes the text seem somewhat bulky, it blends with the image to create an artistic and coherent design. Kirchner's woodcut was eventually printed. Amiet, Bleyl, Heckel, Kirchner, Nolde, Pechstein and Schmidt-Rottluff exhibited from September 24 to the end of October 1906. Through Heckel's work as a draftsman, assistant and construction foreman in Wilhelm Kreis's architectural office, the 'Brücke' artists became acquainted with the factory owner Karl Max Seifert. Kreis was commissioned with the new construction of Seifert's showrooms and appointed Heckel as construction foreman, who was able to inspire Seifert for the exhibition project in this context. Fritz Bleyl later recalled the circumstances of the presentation: 'The new building on Gröbelstraße was a medium-sized, multi-room hall with fabric-covered walls, parquet flooring and upholstered armchairs, and chandeliers hung from the ceiling, but the walls were still empty and waiting for the pictures.' (Fig.) (Hans Wentzel, Fritz Bleyl. Gründungsmitglied der Brücke, in: Kunst in Hessen und am Mittelrhein, 1968, p. 96) Today Heckel's and Pechstein's drafts for the invitation, as well as a draft for a list of the exhibited works are in the Brücke Museum Berlin. [MvL] Called up: December 10, 2022 - ca. 16.58 h +/- 20 min. This lot can be purchased subject to differential or regular taxation.

Tab XXXVIII architectural print, framed under glass, 54 x 73cm including frame

(Stephen?) Asselin of London - an 18th century oak longcase clock, the 12" square brass dial signed to the silvered chapter ring, having matted centre, subsidiary seconds dial and date aperture, twin ringed winding holes for a brass eight-day four pillar weight driven striking movement (lacking bell), the case having an architectural hood and panelled door to a boxbase, h.224cm

19th Century slate mantle clock with Roman numerals on a brass dial, flanked by two four-column architectural structures housing classical statues, beehive-shaped roofs, bud finials, engraved scrolling decoration, mounted on a stepped rectangular base, with key, measures approx 45cm wide x 41cm high

Architectural plate of the elevation of St Charles Hotham's house in Beverley 26 x 38cm along with a print of dogs greeting their Master and a print of a Church window.

A wall-mounting single-action corkscrew (boxed and unused) together with a set of 12 place mats and 10 coasters:1. the restaurant-style corkscrew with a wooden mount measuring 40 x 14.5 cm;2. The place-mats and coasters with reproductions of 19th century London architectural colour prints and to include Horse Guards and Buckingham Palace.

Architectural subjects, a set of four colour prints, uniformly framed and glazed.

A small William IV brass inlaid mahogany bracket clock with an eight-day timepiece movement, c1835, single fusee movement and recoil anchor escapement, white enamel dial with Roman numerals, minute track and tapered steel spade hands, with a brass bezel and convex glass, the architectural top case with pineapple finial to the square surmount above, the case with brass inlaid canted angles and decorative brass inlay to the rectangular panel beneath the dial, on a plinth base with ball feet.Dimensions: Height: 40cm  Length/Width: 21cm  Depth/Diameter: 13cmCondition Report:Small piece of missing brass inlay and slight damage to the case rear door.Enamel dial marked.

Pair early 19th century limewood architectural column or pilaster casings, square tapering form with stop fluted decoration, with stepped and moulded lower skirtDimensions: Height: 269cm  Length/Width: 36cm  Depth/Diameter: 32cm

A Collection of Framed Architectural & Similar framed prints(10)

Six framed prints with still life, architectural & landscape themes(6)

A VICTORIAN ARCHITECTURAL OCTAGONAL  LIBRARY TABLE with white painted top surrounded by shaped  frieze over painted scroll and acanthus carved quadripartite base, 77cm high x 175cm wide x 175cm deep Condition Report:Available upon request